Focusing on the link between Thomasin, the film’s Final Girl, and what Barbara Creed refers to as the ‘monstrous-feminine,’ here embodied by the titular witch, Madden argues that Eggers’ film. As abject, Lesbia and Canidia are both revolting and fascinating, making it impossible for Horace or Catullus to indefinitely exclude them because the poets define themselves as subjects through the process of abjection.Īlthough Horace utilizes Canidia's exaggerated monstrosity as a means to critique the focus of Catullus' poetry, Lesbia, in doing so he engages in the same process of abjection with Canidia as he aligns himself with her when he defines himself and his craft, not only in the Epodes where she appears, but throughout all of his works. Clover’s concept of the Final Girl in the twenty-first century through an analysis of Robert Eggers’ gothic horror film The Witch (2015). Both female figures are constructed as monsters within the poetry that exude devastating heat, cross accepted boundaries, and evoke horror in their respective poets. Dawn of the Dead, 2004 Monstrous Feminine Barbara Creed Feminine Reproductive Biology Made Monstrous. We've talked a lot about fathers in gaming, and that lead us to wonder, where are all of gaming's mothers In our first video on the subject, we'll. Clover and Julia Kristeva to discuss the monstrous-feminine and masculinity as abjection. Dual Images of the ‘Monstrous Feminine’ in Three Horror Films centers on the women in mainstream, psychological horror films. This paper utilizes Creed's work on the monstrous-feminine to discuss two abject figures in Latin poetry, Lesbia of the Catullan corpus, and Canidia, a witch who appears in Horace's early poetry. In analysing Haunted, the chapter will use the theoretical framework of Barbara Creed, Carol J. Please see Wikipedia's template documentation for further citation fields that may be required. Barbara Creed, drawing on Julia Kristeva's Powers of Horror and Lacanian psychoanalytic thought, uses the term "monstrous-feminine" to investigate abject, monstrous females in popular horror films. 1993, The monstrous-feminine : film, feminism, psychoanalysis / Barbara Creed Routledge London New York. However, while the two poets are divergent in many ways, this paper argues that both undergo the same, repetitive process of abjection, in particular, with the abject monstrous-feminine. Nothing has been as simultaneously glamourised, demonised and objectified by societies around the world. In most studies that discuss Horace and Catullus, scholars have differentiated between the two poets in style, subject matter, and polish. Inspired by the release of Julia Ducournau’s genre-shattering body horror Titane, this special season explores how female filmmakers have used monstrous bodily transformations to reclaim and empower the female body.